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��May 1827, since when several similar perform- ances have been heard from time to time. Most of these companies of peasant musicians come from the Ziller Thai, where the peculiar forms of Tyrolean music may still be heard better than anywhere else. The best -known example of an artificial ' Tyrolienne ' is the well-known Chceur Tyrolien' in Act iii. of Kossini's 'Guil- laume Tell,' the first strain of which is given below. For examples of the genuine Landler we must refer the reader to Ritter v. Spaun's ' Oesterreichischen Volksweisen' (Vienna, 1845), M. V. Suss's 'Salzbnrger Volkslieder' (Salz- burg. 1865), or Von Kobell's * Schnadahiipfeln ' (Munich, 1845).

���sur nos ao - cords re- gle tes pas

��A characteristic feature of the original form of Landler as sung in Austrian and Bavarian Tyrol is the Jodel. This term is applied to the abrupt

��TUDWAY.

but not inharmonious changes from the chest voice to the falsetto, which are such a well-known feature in the performances of Tyrolese singers. The practice is not easy to acquire, unless the voice has been accustomed to it from early youth : it also requires a powerful organ and considerable compass. Jodels form an impromptu adornment to the simple country melodies sung by the peasants ; they are also used as ritornels or re- frains at the end of each verse of the song. They are not sung to words, but merely vocalised, although passages resembling them in form are of frequent occurrence in Tyrolean melodies. Examples of these will be found below in a dance song from von Spaun's collection. Moscheles (Tyrolese Melodies, 1827) tried to note down some of the Jodels sung by the Rainer family, but the result was neither accurate nor suc- cessful.

�� ��bin a Jungs Bur-scherl, Und ban a frisch's

���druht si mein lluat.

��[W.B.S.]

��THOMASSCHULE.

�Since the notice Under Stonard. Evening Service In C. Morley. Funeral Anthem, I am